With a strong background in computer science, Andy's creative journey has been shaped by his deep curiosity and passion for exploring the possibilities of generative art. His work is driven by a desire to create visual experiences that challenge our perceptions and invite us to see the world in new and exciting ways.

Andy graduated in 2013 with a Master in Computer Science from Université Lyon II. After that he worked in the video game industry for almost 10 years in studios like Ubisoft and Electronic Arts

Founder of Bureau Noir, a studio dedicated to visual art and experimental practice, at the crossroads of design, code and art. He is also a member of compute, an art collective that he co-founded with friends and where they use NFT and blockchain technology as a medium to explore new forms of art.

→ Andy Duboc

The Generative Art Museum (TGAM): Hello Andy! Thank you very much for joining us today. How are you?

Andy Duboc (AD): Hey, I'm good!

TGAM: Let’s make some proper introductions? Who is Andy Duboc?

AD: Well, I'm Andy Duboc, a French artist based in Montreal, Canada. I've been creating art for as long as I can remember, and I have a background in software programming and video games.

TGAM: We usually talk about video games being a form of generative art that has been around us for a long time. What is your history in the video game industry?

AD: I've been playing video games since I was a child. I have fond memories of playing games like Street Fighter and Zelda on my SNES with friends. I've always been interested in computers, and coding became a hobby for me at a young age. I started trying to recreate the games I loved, which eventually led me to pursue a career in the game industry. I've worked in the game industry for 10 years, creating both mobile and AAA games.

TGAM: Can you tell us about your journey into generative art and how your computer science background influenced your artistic approach?

AD: My background in computer science and programming has had a significant impact on my artistic approach. I've always had a passion for experimenting and creating new things, and computer science provides a powerful set of tools for that. Generative art was a natural extension of my interests, as it allows me to combine my technical knowledge with my artistic vision.

TGAM: Are there any specific generative artists or projects that have had a significant influence on your own work? If so, how have they inspired you?

AD: The work of contemporary artists like Leander Herzog, Kim Asendorf and daeinc has been influential to me. I'm drawn to the brutalism and minimalism present in their practice. Their ability to create visually striking and conceptually rich generative art has inspired me to push the boundaries of my own work.

TGAM: How did you meet NFT’s?

AD: I first became aware of NFTs in 2019. As someone who is always interested in new technologies and paradigms, I started seeing the term being discussed on platforms like Twitter. I delved deeper into the concept and recognized the potential it held for artists, including generative artists like myself.

TGAM: What are some of the benefits and challenges you have encountered while participating in the NFT market as a generative artist?

AD: Participating in the NFT market as a generative artist has its benefits and challenges. On the positive side, NFTs provide a unique way to distribute, authenticate and sell digital artwork, allowing for direct engagement with collectors. However, as someone coming from a game background, I had to quickly adapt to the web-based technologies and frameworks that are integral to the NFT ecosystem. It also required a learning curve to understand the intricacies of blockchain technology and smart contracts.

TGAM: “AnObject” is a very interesting project exploring collective creation. Could you explain the reasons and goals behind this project?

AD: "AnObject" started as an experimentation and a learning opportunity for me. I wanted to explore Solidity, the language used to create Ethereum smart contracts, and find a new way to leverage blockchain technology. At the time, there weren't many projects like "AnObject", (fx(params) and EditArt didn't even exist) and I felt that the act of collecting NFTs was often a very passive experience.

I wanted to introduce an interactive and collaborative element to the process, empowering collectors to shape and contribute to the artwork itself.

TGAM: Are there any specific themes or concepts that you often explore through your generative art, and why are they significant to you?

AD: I'm particularly fascinated by motion and the ability to create pieces that offer a sense of discovery with each viewing. I find that the movement brings my generative art to life, and it allows viewers to experience something new every time they engage with the artwork.

TGAM: Generative systems can be also very connected to the physical world, “Flipping the dots” it’s a wonderful example of how to connect algorithms and their outputs to a physical object. What role does experimentation play in your creative process, and how do you test and iterate on your generative art projects?

Experimentation is central to my creative process. Without it, I would quickly lose interest. I constantly seek new techniques, algorithms, and ideas to incorporate into my practice. When working on a project, I go through multiple iterations, fine-tuning parameters and exploring different possibilities. It's a process of trial and error, allowing me to refine the output and achieve the desired aesthetic and conceptual qualities.

TGAM: Perspective is a beautiful project exploring randomness and creation. How do you navigate the tension between replicability and uniqueness in generative art? Do you prioritize one over the other?

AD: I'm not particularly fond of introducing excessive variation for the sake of it. While generative art inherently produces unique outcomes, I prioritize creating pieces that maintain a consistent underlying concept or theme. I strive to strike a balance between the unpredictable nature of generative systems and the coherence that ties my artworks together as a collection.

TGAM: Talking about irl, You have participated in several festivals such as DEMO Festival or MAPP Minute Mapping. TGAM is making a huge effort to bring generative art into other environments and escape the personal screen. What are your thoughts on the significance of physical exhibitions for generative artists in an increasingly digital world?

AD: Physical exhibitions hold great significance for generative artists in an increasingly digital world. While digital platforms provide accessibility and reach, the physical environment offers a unique and immersive experience. The tangible presence of generative art in a physical exhibition setting allows viewers to engage with the artwork on a sensory level, appreciating its scale, texture, and context.

TGAM: How does the experience of viewing generative art differ when it is presented in a physical exhibition versus online platforms?

AD: The experience of viewing generative art differs significantly when presented in a physical exhibition compared to online platforms. In a physical exhibition, viewers have the opportunity to perceive the artwork within a specific physical context, which can enhance their understanding and emotional connection. Factors such as lighting, spatial arrangement, and the presence of other artworks contribute to the overall ambiance and interpretation of the pieces. On the other hand, online platforms provide accessibility and convenience, allowing a wider audience to discover and engage with generative art regardless of their geographical location.

TGAM: In this matter, responsive generative art solves a lot of the issues when displaying art in different aspect ratios, screens, etc. At TGAM we always repeat: responsive art is the art of the future (that’s why we’re making an exhibition about it!). Do you think responsive generative art is the art of the future?

AD: Responsive generative art definitely has the potential to be a significant part of the art of the future. With the increasing prevalence of various digital devices and screens of different sizes and aspect ratios, responsive art offers a solution to adapt and optimize the viewing experience across these diverse platforms. By embracing responsive design principles, generative artists can ensure their creations are presented in the best possible way, maintaining the intended visual impact and engagement regardless of the viewing context.

TGAM: Regarding the future, “2D radiosity” is a beautiful system that calculates global illumination based on 2d shapes and images. It really looks like the future. Lighting is a strong motif in your work that probably wouldn’t be possible without digital art. What is your perspective on the relationship between generative art and traditional art forms?

AD: Generative art, with its reliance on digital mediums and computational processes, opens up new possibilities that traditional art forms cannot fully explore. The system of "2D radiosity" exemplifies this, showcasing the potential of generative art in creating visually stunning and technically complex artworks. In my own work, lighting plays a significant role, and it is a motif that is only made possible with digital art.

Generative art expands the artistic landscape by embracing advancements in technology and exploring new creative avenues. It offers unique opportunities for experimentation and expression that traditional art forms may not be able to achieve.

TGAM: Let’s jump into your Responsive Dreams project, “MISHMASH”, can you explain a bit more about the project and the concept behind it?

AD: To begin, a "MISHMASH" is a term used to define a mixture or combination of elements that may appear jumbled or haphazard.

Taking inspiration from artists such as Carloz-Cruz-Diez and Ksawery Komputery, the project aims to embrace chaos by intertwining vibrant motion and colors. When embarking on this project, I had a vision in mind: to create a dynamic and animated piece that exudes a sense of chaotic beauty. Additionally, a crucial aspect was ensuring its compatibility across different devices, making it accessible and enjoyable for viewers on any platform.

TGAM: Could you describe the process you follow when creating a responsive artwork? How do you incorporate interactivity and adaptability into your pieces?

AD: When it comes to interactivity, I perceive it as an inherent aspect of the artwork, albeit in a subtle manner. I usually provide collectors with the ability to generate variations through key presses or make visual alterations. However, I don't actively promote interaction as a primary selling feature of the artwork. As for responsiveness and adaptability, I prioritize them from the initial stages of the project. I extensively test the artwork on various devices, ensuring consistency and optimal performance across different platforms.

TGAM: How do you see the future of responsive art evolving? Are there any emerging technologies or trends that you're excited about incorporating into your work?

AD: From my perspective, I see responsiveness as an integral aspect of generative art, and I anticipate it will continue to be supported and seamlessly integrated into generative artworks.

Andy Duboc is part of TGAM's Responsive Dreams Festival, the first generative art exhibition in Barcelona dedicated entirely to showcasing art created by code.

Mishmash will be minted live during 14/15th June at Nau Bostik, Barcelona. Holders of TGAM's brochures are elegible to mint preferentially.

The Generative Art Museum (TGAM) is a non-profit organization based in Barcelona dedicated to explore, promote, and advance the understanding and appreciation of generative art as a unique form of artistic expression.